DURHAM CATHEDRAL ORGANS

A brief history

Summarising the whole story of Durham Cathedral's organs
is something of a tall order. What short-cuts can be made
without compromising accuracy? Here I offer an aperitif;
those seriously interested in the full record of the many
known organs in and around the Cathedral precincts, with
an extended appreciation and complete details of the
present organ, are recommended to seek out the illustrated64pp
booklet first published by the Dean & Chapter in
1991, re-printed in 2014, so again available for purchase
from the Cathedral Bookshop. For the impatient, the present
organ's stoplistcan
be
found
occupying megabytes elsewhere on the Web.

The early history

Early reports are uncertain, but it would seem there has
been an organ or organs in this building for over 700
years. Occasional references are to be found in the Priory
Rolls, and a retrospective account of the life and
appearance of the Priory Church before the Dissolution in
1539 describes five organs in different positions. That
"ouer the quire dore" is compared with the finest in
England. Two of the smaller organs survived into troubled
17th century times.

The main organ on the Quire screen was replaced in 1621
by Thomas Dallam, who built a number of prestigious
instruments including that for Kings College Cambridge.
Dallam case fronts survive in Brittany and England to this
day. Might the Durham organ have looked as imposing as one
of these?

At the Restoration in 1660, there was nothing to
salvage, and after using temporary "little Organs...that
came from London", a new organ was ordered from another
of the Dallam dynasty, George, newly returned from
France. It would seem this was a two manual, or double,
organ of 13 stops, and cost £550, being finished for
Christmas 1662.

The Father Smith organ

George Dallam's instrument did not last or was soon
outmoded, and the Chapter contracted in 1683 with the
King's Organmaker, Bernard ("Father") Smith, for a "good,
perfect, laudable and harmonious great Organ and Chair
Organ [17 stops altogether] with a case of good, sound and
substantiall Oak wood..." for £700. In fact targets were
missed, the organ not being finished until summer 1686,
and it cost rather more, though with extra stops and more
innovation than planned. Arguably this was one of Smith's
finest organs, an impressive sight on the screen - "so
good and sound mad as anny is in the holl worrelt". The
few relics that survive - the Chaire case in the Castle,
the reconstruction of the west front, and a few scattered
ranks of pipes - are a sad reminder of what has been
lost.

In all respects a notable instrument, this lasted
nearly 200 years until finally removed in 1873. En route
there had been additions and alterations too numerous
here to elaborate, and a disastrous transfer to the
north Quire aisle in 1847.

During Scott's restoration of the Quire area, 1873 to
1876, a hired 2m Gray & Davison organ sufficed. This
subsequently transferred to a church in Middlesbrough
now closed, and now resides, though modified, in the
west gallery at St.Peter's, Redcar.

. The present organ

Henry ("Father")
Willis's opus - the basis of the present
instrument - was available in part from the re-opening
ceremony on St.Luke's Day 1876, though final completion
was not achieved until March 1877. Of 55 speaking stops on
five divisions [Willis
stoplist], the new organ cost £3150 and was
thoroughly up-to-date, a first class creation of a
singularly successful Victorian organ-builder. The
functional pipe-fronts, decorated by Clayton & Bell
with oak carving by Roddis of Birmingham, under the
direction of architect Hodgson Fowler, were once
denigrated as "rolls of linoleum", but are now recognised
as splendid examples of their kind, and successful in
giving the effect "of a rich carpet...without
ostentation". Aspects of the organ's design and
construction, particularly the pneumatic action,
integrating separate elements across the Quire, and the
hydraulic blowing arrangements, tested the limits of the
technology of the time, and were to be the first parts to
falter. Gas engines soon replaced the hydraulics, but then
fumes corroded parts of the action and pipes, such that a
major overhaul was required by 1903.

Father Willis was no more, and the work - which grew in
concept - was awarded to the then up and coming local
firm, Harrison
& Harrison, in whose loving care the
instrument has since remained. Certainly a lasting
reputation for excellent work was made with the
reorganised and altered Durham instrument reopened in
July 1905. Although no new stops were added at that
time, they were planned for and eventually added in 1935
when other changes were effected, to make a four manual
organ of 77 speaking stops and 20 couplers. This was
again rebuilt, expanded, and rearranged, with
electro-pneumatic action provided throughout, in 1970.
It now comprises 98 speaking stops in 7 divisions,
utilising a comfortable console of 4 manuals and Pedal,
and occupies the two westernmost bays either side of the
Quire, within the arcade with the exception of the Solo
in the north triforium. The upkeep of such an enormous
and complicated piece of equipment continues.

The organ is now complete enough for most tastes, the
"Father" Willis organ extensively rebuilt, enlarged and
re-voiced by Harrison & Harrison, and is justly
renowned, widely acclaimed as a masterpiece of Romantic
organ-building, one writer enthusing "..Superb voicing,
excellent acoustics and an incomparable setting all
contribute to make it one of the great treasures of the
English speaking world". If you don't believe it, come
hear and experience the thrill for yourself.

The organ is divided both sides of the quire, with the
Great behind the decorated casefront and the Choir with
Positive over in the first bay on the south side, whilst
the Swell (in the case), Solo (in the triforium above),
the Bombarde (hidden in the first bay - behind the
Dean's stall!), and most of the Pedal are situated on
the north side. Envy the organ
stoplist
on-line; soundbites do not do it justice.

Richard Hirdis
co-author with James
Lancelot, the Cathedral Organist, of the definitive
booklet referred to above, being also locally
Organs Adviser to the Diocese of Durham, and recognised inter
alia for his researches into and knowledge of
Durham organs past and present.